The shocking images of Superpower can move us, but the movie ends up being nothing more than a piece of propaganda. Even worse, the documentary is a wasted opportunity to give a proper voice to the people who still live and fight in Ukraine. Instead, Superpower seems more concerned about contributing to the mystification of Zelensky and the image of Penn as a lonesome and brave hero.

Aside from The Mean One himself, there was too much not to like in this film.

By the time it all eventually wraps up with some lackluster lessons conveyed via a painfully sappy final scene, you’ll wish the film had taken the chance to go on a journey with Keaton and Paige instead of whatever this all was.

While Snook does all she can to give the experience some heft, Run Rabbit Run is a horror film in search of something greater others have already achieved that it is never able to find.

For a film about a supposedly historic and harrowing journey to the moon, it never manages to charter any new territory of its own.

There are moments of terror near the beginning, but it gets far too tangled up in a generic narrative that drowns out any sense of vision. Even with some striking visual moments and excellent sound design, it is all in service of regrettably very little.

Ultimately, The Munsters is not a good movie. But it is great fodder to put on in the background of a Halloween party. It is best when used as a visual asset; something you may only want to catch a couple of minutes of dialogue from, but otherwise, it’s best left as background imagery.

Disney has been at the forefront of animation in film for much of its 100 years and their legacy is unparalleled. That’s a lot to put on the shoulders of any animated film, but Wish, with its mundane celebration of this history, is a disappointing commemoration of these accomplishments.

Your Place or Mine has a decent premise with a great cast and is fun at times with moments that are sweet and showcase great potential for an enjoyable rom-com, but it never hits the mark and only works in pieces.

For all the promising threads it pulls on surrounding a variety of faith traditions, The Exorcist: Believer doesn't earn your belief or your fear. Where Friedkin's classic will endure forever, this superficial sequel remains stuck in the past. It may try to speak all the same verses, but it doesn't add new life to any of them.

When it then shifts into being about the case itself with the characters trying to get to the bottom of it all, the humor feels like it is mostly coasting off of the chemistry of Sandler and Aniston. This can hold things together for a while as both bounce off each other effectively, but the film soon is revealed to just be a recycling of jokes the first film already did better.

There is never a sense that Collette is phoning it in, but the entire narrative around her is just too flimsy to hold together for a full feature. In isolation, there are some solid gags and throwaway jokes that connect. The trouble is that they are just increasingly few and far between. It all makes for a film that oddly feels like it is playing it safe, relying on the charisma of its lead and offering little else beyond that.

Rise of the Teenage Mutant Ninja Turtles: The Movie is a nice effort in extending the legacy of a far better TV series, but it fails to comprehend that in order to tell a “serious” and “epic” story, it lets go of all the elements that made us fall in love with the series in the first place.

The movie is sensible enough to feature Native American characters and actors and give them some space, but they’re never made a protagonist in their own story.

With the options of taking the audience on a fully-fledged bang-bang Western adventure or commenting on the genre’s issues in past decades, Dead For a Dollar chooses to do neither and wastes its stellar cast with drowsy performances which never make you root or fear for any character.

While there are many promising pieces being assembled, with arresting visuals bolstered by the performances of Mescal and Barrera, any awe to be had in Carmen becomes dashed by its own emptiness.

While the group of actors who play the students offer strong performances, particularly Luke Barker, Ksenia Devriendt, and Florence Baker, Hausner's meandering feature eventually concludes without a real ending.

There is potential within the Shazam! films that have never quite been met. Especially with this latest installment, this often feels like DC’s attempt at having a Spider-Man-esque character in their roster, and if you squint, you can almost see that possibility.

Possibly the biggest surprise to Luck is just how generic and uninspired it feels, despite how many ideas are crammed into this story. There’s no wonder, no excitement, no jokes that land.

Disenchanted posits that happily ever after isn’t always the ending of the story, but Disenchanted also proves that sometimes, maybe it should be.

There’s no way to hide the lack of substance in We Bought a Zoo, making it hard to justify returning to this decade-old film.

Finestkind has all the right pieces to make an interesting drama, but Helgeland can’t get them together in a way that isn’t over-the-top and downright silly.

All through the scattered experience, Page is a shining light. Every move he makes gives the film something greater that it is never able to grasp.

To see Clooney and Roberts team up again when they have demonstrated in the past (the Oceans movies and Money Monster) that they go together like rum and coke is a lot of fun, but it also makes it undeniably noticeable that they deserve better. I don't mean an Oscar-worthy dramatic biopic. But a rom-com with some nuance and wit.

It is a work that is so caught up in the noise that it drowns out the moments of the profound silence that could have spoken to something more.

García’s latest film is a predictable, completely fine, but uneventful dramedy that never quite finds a way to dig itself out of mediocrity.

Its dialogue is constructed in a way that would sound unnatural even in a daytime soap opera, and Kruger works her best to save it, but there’s only so much she can do. The story is so poorly developed it feels like an outline of a script, all in favor of a final plot twist that would be jaw-dropping…in the 1930s.

The Out-Laws has a workable premise with a great star-studded cast led by a sincere DeVine and is funny with great potential outside its humor. But it never hits the mark and only works in pieces due to recycled ideas and formulaic tropes across clichéd writing.